March 19, 2016

Pictures at an Exhibition: A Review of Sandra Marchetti’s Confluence by Angele Ellis

Confluence by Sandra Marchetti
Sundress Publications (2015)
Reviewed by Angele Ellis
Reading Sandra Marchetti’s first full-length book of poetry is like being immersed in a series of works in an art gallery. Each scene of unfolding—in rich brushstrokes of language—pulls the viewer/reader in, and doesn’t quite let go. Like paintings, Marchetti’s mostly brief but lush lines convey both miracles of beauty and intimations of strain and mortality. (Confluence’s cover is a detail from early 18th century Dutch painter Jan van Huysum, in which a rose and peony are captured on the cusp of over-ripeness, and a zinnia’s stem already has fallen.)
This artist’s view of the world is made explicit in some of Marchetti’s poems. In “Saints,” the poet’s eye glides from the “stars” of the Virgin of Guadalupe to an evocation of the techniques of such classic Dutch painters as van Huysum, as in these lines:

…They say
a glass of water
is the very hardest thing…
… The Dutch could do this—
hold water in their eyes—
inside the painter
a glass would become full,
a flower fresh
with drops of dew,
insects on the petals.

And “Sur l’herbe” is a direct allusion to 19th century painter Édouard Manet’s erotic shocker “Le déjeuner sur l’herbe.” Addressing a lover, perhaps, the poem’s speaker directs her own scene like a master:

… Don’t move:
you can’t see
you are a strange
portrait.
Like Manet,
I strain each stroke
of cup and nape
to show I can…

These excerpts demonstrate Marchetti’s command of not only the images but also the music of poetry—including alliteration, enjambment, rhyme and near rhyme, and the punch of the spondee (a metrical foot in which both syllables are stressed—DUM-DUM—as in “Don’t move”). Marchetti is frank about her poetic influences and the ways in which they haunt her work. This is particularly evident in this passage from her essay “Rhyming with the Dead” (The Turnip Trucks, 1-28-2016):

… My influences include the confessionals, Bishop, Hopkins, Dickinson, and others. I have done it both intentionally and unintentionally; indeed, this is very common in contemporary poetry… I have found all of my poems are part of this interconnected web and that is why certain lines ring in my head—they are not wholly mine; they chime with other voices. In short, I rhyme with the dead.

Later in this essay, Marchetti compares her poem “Lunch” to Anne Sexton’s “The Truth the Dead Know,” a mid-20th century classic that Marchetti has learned by heart. She reflects:

… When Sexton says “June” on the Poetry Speaks recording, she gives such weight to word. I remember my initial reaction to its heavy vowel jab. I have never forgotten it. “Lunch,” another poem of mine, incorporates the same syntactical maneuver of Sexton’s “It is June…” line. The second stanza of “Lunch” reads:

Sorting the demands of red-orange,
pink, cream, I flick stems on the bank,
watch them wash downstream. It is noon,
the bees are circling for somewhere to land.

(Marchetti, “Rhyming with the Dead.”)

Nourishment, sex, art—and the ultimate inability of these things to hold back destruction—make every object in Confluence (animal, vegetable, mineral, the very landscape) a precious yet vulnerable body. In “Orange Bouquet,” one garden-harvested cauliflower encompasses a world of meaning, from “loos[ing]” to “snap,” as in these lines:

… The dark farm in diorama
crams between each branch.
I brush caterpillars into the sink
and geese wink out, smatter
dirt on my hands
in their landing.

Again and again in Confluence, the speaker uses smooth and sharp turns of language to meld with her subject. In “Borderland,” an ordinary fenced-in swimming pool becomes the center of a mystery, with something “… gnawing at your waters.” When the poet asks the pool “What are you?” the answer is “A country.”
The word that provides Marchetti with this book’s title, confluence, has multiple meanings. Literally the merging of two bodies of water (as Pittsburgh’s Allegheny and Monongahela Rivers merge to form the Ohio River), it is figuratively any coming together—of factors, ideas, cultures, beings. At the point of confluence, something is both lost and gained. The book’s final poem, “One Secret” (perhaps echoing Elizabeth’s Bishop’s “One Art”), is both a love poem and an artistic credo. In the last lines of this poem, the speaker’s consciousness expands to embrace her lover’s body in the present, its inevitable demise, and the “rhythms” that define her art and world:

… Dusk flares the bones’ groan, so I rub your stomach
until you sleep. I neat my breath to yours,
as if you were a child; the confluence
of rhythms begins. It is only sound
and meaning. Sound and meaning.